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Periodic Reporting Cycle 2, Section II

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Periodic Reporting Cycle 2, Section II Periodic Report - Second Cycle Section II-Painted Churches in the Troodos Region 1. World Heritage Property Data Church of Agios 34.997 / 32.898 0 0 0 0 Sozomenos, Galata, Galata , 1.1 - Name of World Heritage Property Lefkosia (Nicosia) , Troodos , Cyprus Painted Churches in the Troodos Region Church of Agios 34.837 / 33.043 0 0 0 0 Mamas, Louvaras, 1.2 - World Heritage Property Details Louvaras , Lemesos State(s) Party(ies) (Limassol) , Cyprus Troodos , Cyprus Total (ha) 3.691 0 3.691 Type of Property cultural Comment Coordinates for the Churches should be corrected as follows Identification Number following the above order: a) N34 58 42 E32 53 23 b) N34 59 351bis 36 E32 49 50 c) N35 02 50 E32 58 25 d) N34 58 00 E33 00 27 Year of inscription on the World Heritage List e) N34 59 02 E32 49 28 f) N34 58 07 E32 49 53 g) N34 53 39 1985, 2001 E32 58 00 h) N35 00 17 E32 53 49 i) N34 58 48 E33 02 50 j) N34 55 12.8 E33 05 44.9 1.3 - Geographic Information Table Name Coordinates Property Buffer Total Inscription 1.4 - Map(s) (latitude/longitude) (ha) zone (ha) year Title Date Link to source (ha) Kakopetria 20/01/2006 0 / 0 ? ? ? 0 / 0 ? ? ? Kalopanayiotis 20/01/2006 Church of Ayios 34.967 / 32.883 2.755 0 2.755 1985 Nikitari 20/01/2006 Nikolaos (St. Nicholas) tis Lagoudera 20/01/2006 Steyis, Kakopetria , Moutoulas 20/01/2006 Troodos , Cyprus Pelendria 20/01/2006 Ayios Ionannis (St. 34.983 / 32.817 0.195 0 0.195 1985 John) Galatea 20/01/2006 Lambadhistis Monastery, Palaichori 20/01/2006 Kalopanayiotis , Troodos , Cyprus Church of Panayia 35.033 / 32.967 0.115 0 0.115 1985 1.5 - Governmental Institution Responsible for the (The Virgin) Property Phorviotissa (Asinou), Nikitart , Comment Troodos , Cyprus Department of Antiquities, Cyprus Church of Panayia 34.967 / 33 0.437 0 0.437 1985 (The Virgin) tou Arakou, 1.6 - Property Manager / Coordinator, Local Institution / Lagoudhera , Troodos , Cyprus Agency Church of Panayia 35 / 32.833 0.035 0 0.035 1985 Marina Solomidou-Leronymydou (The Virgin), Cyprus Moutoullas , Curator of Antiquities Troodos , Cyprus Monuments Sector Church of 34.967 / 32.817 0.028 0 0.028 1985 Archangelos Comment Michael (Archangel Correct name: Marina Solomidou - Ieronymidou Correct title: Michael), Pedhoulas , Acting Director/ Curator of Antiquities Troodos , Cyprus Church of Timios 34.883 / 32.967 0.053 0 0.053 1985 1.7 - Web Address of the Property (if existing) Stavros (Holy Cross), Pelendria , 1. World Heritage Sites of Cyprus Troodos , Cyprus Church of Panayia 35 / 32.883 0.021 0 0.021 1985 1.8 - Other designations / Conventions under which the (The Virgin) property is protected (if applicable) Podhithou, Galata , Troodos , Cyprus Comment Church of Stavros 34.967 / 33.033 0.018 0 0.018 1985 The Hague Convention of 1954 and its two Protocols. The site (Holy Cross) Ayiasmati, has been granted Enhanced Protection status in 2010, Platanistasa , according to the Second Protocol to the Hague Convention. Troodos , Cyprus Church of Ayia 34.92 / 33.096 0.034 0 0.034 2001 Sotira (of the Transfiguration of the Savior) tou Soteros, Palaichori , Troodos , Cyprus Page 1 Monday, October 13, 2014 (8:28:27 PM CEST) Periodic Report - Section II-Painted Churches in the Troodos Region World Heritage Centre Periodic Report - Second Cycle Section II-Painted Churches in the Troodos Region 2. Statement of Outstanding Universal Value Timios Stavros (Holy Cross), Pelendria is in the District of Limassol. Criterion (ii): Although the existence of any direct influence 2.1 - Statement of Outstanding Universal Value / cannot be confirmed, very close relationships existed, during Statement of Significance the 12th century, between painting in Cyprus and Western Christian art (stylistic relationships in the case of Nikitari Statement of Outstanding Universal Value paintings; iconographical relationships in the case of the Brief synthesis paintings of Lagoudera). Thus, there do exist some answers to The Troodos mountain region of Cyprus contains one of the the very complex question of ties between the two largest groups of churches and monasteries of the former Christianities. These answers take the form of Cypriot Byzantine Empire. The ten monuments included on the World monuments, which precede the constitution of the Frankish Heritage List, all richly decorated with murals, provide an Lusignan Kingdom, which was a fundamental link in the chain overview of Byzantine and post-Byzantine painting in Cyprus of East-West artistic exchanges. and bear testimony to the variety of artistic influences affecting Criterion (iii): The paintings of the Troodos Region bear an Cyprus over a period of 500 years. The structures display outstanding testimony to the Byzantine civilization at the time elements that were specific to Cyprus and were determined by of the Comnenes, thanks to the Nikitari and Lagoudera its geography, history and climate, including steep-pitched ensembles. It should be noted that the former, where the wooden roofs with flat hooked tiles, in some cases providing a name Alexis Comnene is mentioned in a dedication, was second roof over Byzantine masonry domes and vaulted probably executed by artists from Constantinople and the forms, while exhibiting Byzantine metropolitan art of the latter was painted at the very time of the fall of Isaac Comnene highest quality. The architecture of these churches is unique, and the sale of Cyprus to Guy de Lusignan. confined to the Troodos range and almost certainly of Criterion (iv): The churches of the Troodos Region are a well indigenous origin. They range from small churches whose conserved example of rural religious architecture during the rural architectural style is in stark contrast to their highly Byzantine period. The refinement of their décor provides a refined decoration, to monasteries such as that of St John contrast with their simple structure. The latest post-Byzantine Lampadistis. They also contain a wealth of dated inscriptions, painters alone, with their “rustic” style, are at times in harmony an uncommon feature in the Eastern Mediterranean during the with this vernacular architecture. Middle Ages, which makes them particularly important for Integrity recording the chronology of Byzantine painting. Important The wholeness or intactness of the site is related to the fact examples of the 11th century iconography survive in the that all ten churches of the property are living monuments and churches of St. Nicholas of the Roof and Panagia Phorbiotissa continue to be used as places of worship and for other of Nikitari. Within Panagia tou Arakou in Lagoudera and St. religious practices, thus preserving their original function. They Nicholas of the Roof are found important wall paintings from individually retain their architectural fabric and their rich the Comnenian era, with the first being of exceptional artistic decoration, which separately form a whole assemblage and quality attributed to Constantinopolitan masters. The 13th together complete a set that exhibit Byzantine and post- century, the early period of Latin (western) rule in Cyprus, is Byzantine painting in Cyprus. Their surroundings, which in well represented in the wall paintings of St. John Lampadistis most cases consist of rural countryside, augment their rural in Kalopanagiotis and in Panagia in Moutoulla, which reflect exterior in contrast to their décor. Their good state of the continuing Byzantine tradition and new external influences. preservation is directly related to the actions taken by the The 14th century wall paintings at Panagia Phorbiotissa, state, as conservation works are carried out on a yearly basis Timios Stavros at Pelendri and St. John Lampadistis also to the buildings, the wall paintings and wooden furniture, as display both local and Western influences, and to a certain well as the surrounding areas of the churches. An issue degree, the revived art of Paleologan Constantinople. In the affecting the site is the increasing number of visitors, which late 15th century iconography at Timios Stavros Agiasmati occasionally results in pressure from the local church and Archangelos Michael, Pedoulas exhibits once again the authorities for new facilities incompatible with the character harmonious combination of Byzantine art with local painting and value of the monuments. In addition, an increase in tradition, as well as some elements of Western influence, criminal activities such as robberies has been observed in the which are different, however, from the earlier series of St. past years, enabled by the rural location. Natural disasters John Lampadistis that was painted by a refugee from and environmental pressures are also associated with the Constantinople. The Venetian rule, which began in 1489 was geography of the site, while development pressures arise reflected in the development of the Italo-Byzantine school, and occasionally. Measures have been implemented to mitigate the most sophisticated examples can be found in Panagia these threats. Podhithou and the north chapel of St. John Lampadistis, both Authenticity successful examples of Italian Renaissance art and Byzantine The key elements of the property – the design, materials, art fusion. Finally, the wall paintings of the Church of the execution and function of the churches – retain a high degree Transfiguration of the Savior in Palaichori form part of the of authenticity. The works undertaken for conservation of the Cretan school of the 16th century. structures and the wall paintings are implemented in a manner The ten churches included in
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